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557723bk Beethoven US 7/7/05 2:38 pm Page 5 Ida Bieler Ludwig van Beethoven (1770–1827) Piano Trios, Volume 1 The American-born violinist Ida Bieler has received international recognition, winning first prizes and awards in BEETHOVEN major international competitions. A graduate of the Juilliard School in New York and the Music Academy of Cologne, she studied with Ruggiero Ricci and Oscar Shumsky in the United States, and Max Rostal and Nathan Piano Trio No. 5 in D major, Op. 70, No. 1 ‘Ghost Trio’ 27:48 Milstein in Europe, and has been heard as soloist and chamber musician in leading music capitals throughout the 1 Allegro vivace e con brio 9:56 world. She has recorded for radio and television throughout Europe, the Americas, Australasia, Japan, and Korea, 2 Largo assai ed espressivo 10:03 Piano Trios appearing at important international festivals, and collaborating with fellow-musicians of the highest distinction. She 3 Presto 7:49 boasts a repertoire of staggering range, and has given special attention to interpretations of complete-work cycles, including performances and recordings of the complete sonatas of Bartók, Hindemith, Schumann, Grieg, Brahms Piano Trio No. 6 in E flat major, Op. 70, No. 2 30:06 Nos. 5 ‘Ghost’ and 6 and Beethoven. One of the most versatile violinists of her generation, Ida Bieler served as concertmaster of the 4 Poco sostenuto – Allegro ma non troppo 10:06 Gürzenich Orchestra-Cologne Philharmonic from 1983 to 1988. She enjoys a distinguished reputation as a teacher, 5 Allegretto 5:17 since 1993 leading the violin master-class at the Robert Schumann Academy of Music in Düsseldorf. She has also 6 Allegretto ma non troppo 6:52 Tichman • Bieler • Kliegel led master-classes throughout the world, and is a member of the International Music Academy in Bonn and artistic 7 Finale: Allegro 7:51 director of the newly founded string festival Rheinische Streicherakademie. Since 1993 she has been a member of Germany’s renowned Melos Quartet, and the Ensemble Villa Musica. Variations in E flat major, Op. 44 13:46 8 Thema 0:48 9 Variation I 0:39 Maria Kliegel 0 Variation II 0:48 ! Variation III 0:41 A native of Dillenburg in Germany, Maria Kliegel, one of the leading cello-virtuosi of our time, continued her @ Variation IV 0:49 studies with Janos Starker at Indiana University. Awards and prizes have included victory in the Rostropovich # Variation V 0:34 Competition in 1981, followed by a series of outstanding international concerts, with appearances in Basle, with the $ Variation VI 0:35 National Symphony Orchestra in Washington and with the Orchestre National de France in Paris, directed by % Variation VII 1:12 Mstislav Rostropovich. She has made a large number of recordings, including in 1990 Schnittke’s First Cello ^ Variation VIII 1:05 Concerto, acknowledged by the composer as the definitive version. She appears regularly as a guest soloist at venues & Variation IX 0:32 all over the world, and has an exceptionally wide repertoire, her versatility and interest in exploring newer works * Variation X 0:34 stimulating contemporary composers to write music for her. In 1998 she was appointed to the board of the influential ( Variation XI 0:41 Deutscher Musikrat (German Music Council), and in 1999 was awarded the Order of Merit of the Federal State of ) Variation XII 0:40 North Rhine Westphalia. She has given master-classes at the Cologne Music Academy since 1986. Maria Kliegel’s ¡ Variation XIII 1:22 many recording for Naxos include a wide spectrum of works for cello and orchestra, in addition to a range of works ™ Variation XIV 2:47 from recital repertoire. She plays the legendary “Ex-Gendron” cello made by Stradivarius in 1693 and placed at her disposal by the Stiftung für Kunst und Kultur in North Rhine Westphalia. 8.557723 5 6 8.557723 557723bk Beethoven US 7/7/05 2:38 pm Page 2 Ludwig van Beethoven (1770–1827) beginning of the final Presto in tripartite sonata form. The Variations in E flat major, Op. 44, are thought Xyrion Trio Piano Trios, Volume 1 The second of the set, the Piano Trio in E flat major, by some to have been sketched in Bonn in 1792 and by Op. 70, No. 2, opens with a slow introduction, an others to be slightly later in date. They were first Born in Bonn in 1770, Ludwig van Beethoven was the innovation as he grew older. He died in 1827, his death unusual feature in this genre, the cello proposing a motif published in 1804. The Andante theme is given by all Widely acclaimed since its début in 2001, the Xyrion eldest son of a singer in the musical establishment of the the occasion of public mourning in Vienna. that is imitated by the violin and finally by the piano, three players, in simple outline. The first of the fourteen Trio, with the pianist Nina Tichman, violinist Ida Bieler Archbishop-Elector of Cologne and grandson of the The first three piano trios, which form Beethoven’s until this touch of the academic, an element not always variations allows the piano to elaborate the material, and cellist Maria Kliegel, appears regularly in the major Archbishop’s former Kapellmeister, whose name he Opus 1, were published in 1795 and dedicated to Prince welcomed by contemporaries, is replaced by a piano proceeding to a second variation for piano alone. The musical centres of the world and at international festivals. took. The household was not a happy one. Beethoven’s Carl Lichnowsky, who had welcomed the composer into cadenza. This ushers in an Allegro ma non troppo, third variation offers rhythmic contrast in the violin Recent highlights include cycles with the complete trios father became increasingly inadequate both as a singer his house in Vienna and offered continuing support. where the principal theme is extended by antiphonal triplets over a contrasting piano rhythm, and the fourth of Dvofiák and Beethoven, with concert tours in Japan, and as a father and husband, with his wife always ready These were followed in 1808 by a set of two piano trios, exchange between strings and keyboard. The second is entrusted primarily to the cello. The piano is given New Zealand, Europe and North America. to draw invidious comparisons between him and his own dedicated to Countess Marie von Erdödy, in whose subject is introduced by an imitative passage based on triplet rhythms in the fifth variation, while the sixth father. Beethoven, however, was trained as a musician, house Beethoven had taken up residence in that year. In the scale of G flat, recalling the slow introduction. A starts in unanimity. The seventh, marked Largo and in E however erratically, and duly entered the service of the 1809 he initiated a quarrel with the Countess over the figure from the first subject opens the central flat minor, is opened by the cello, and the eighth, Un Archbishop, serving as an organist and as a string-player matter of a servant, secretly bribed by her, it seemed, to development and later returns to start the final poco adagio, has violin and cello accompanying a in the archiepiscopal orchestra. He was already winning stay with his master. Although Beethoven later wrote an recapitulation, with its reminiscence of the slow singing piano melody with continuing triplets. This is some distinction in Bonn, when, in 1787, he was first apology, he moved to other lodgings. At the same time introduction, quickly replaced by a livelier conclusion. followed by a more sharply defined ninth version of the sent to Vienna, to study with Mozart. The illness of his he attempted to change the dedication of these two Opus The second movement, marked Allegretto, offers two theme and a capricious tenth. The eleventh variation mother forced an early return from this venture and her 70 Piano Trios, naming instead Archduke Rudolph, his themes, in C major and C minor respectively, and these allows the cello to introduce a characteristic rhythmic subsequent death left him with responsibility for his royal pupil and patron, on the excuse that the latter had are varied in alternation. The A flat major third figure, over piano triplets, and the twelfth has an younger brothers, in view of his father’s domestic and shown a particular fondness for the works, but the movement, marked Allegretto ma non troppo, is in fact exchange between violin, cello and piano right hand professional failures. In 1792 Beethoven was sent once original dedication eventually stayed. Beethoven had a dance movement with the equivalent of a contrasting over accompanying left-hand piano triplets. The E flat more to Vienna, now to study with Haydn, whom he had played the works at a musical evening at Countess trio section that uses violin double-stopping, suggesting minor Adagio penultimate variation, with its sudden Nina Tichman met in Bonn. Erdödy’s in December 1808, presumably with the the presence of a third string player. The finale, with a changes of dynamics, leads to a final Allegro, Beethoven’s early career in Vienna was helped very violinist Schuppanzigh and the cellist Joseph Linke, and principal theme in marked rhythm, is unusual in the key interrupted by a brief Andante interlude, before the rapid American-born, the pianist Nina Tichman has been based in Europe since winning the prestigious Busoni considerably by the circumstances of his move there. one listener, at least, described the works as of of its second subject. The central development brings final Presto. Competition, one of a number of other awards to her credit. She has appeared as soloist with orchestra and in recital The Archbishop was a son of the Empress Maria considerable force and originality, and remarked on the piano figuration that continues to provide an important in the major music centres of the world and has been featured in radio and television portraits on five continents.